St. Denis Correct! the light of the sun the stones of the Gothic arch Question 17 2 / 2 pts Which of the following was an important cultural influence during the Gothic? Courtly Love Feudalism Pseudo-Dionysius the Areopagite’s philosophy of light. The Rise in the importance of the Virgin Mary Correct! All of the Above
Question 8 2 / 2 pts Which of the following was an important cultural influence during the Gothic? Feudalism Correct! All of the Above Pseudo-Dionysius the Areopagite’s philosophy of light. The Rise in the importance of the Virgin Mary Courtly Love
Uninterrupted international trade preserved a sense of shared culture. The early kingdoms of Western Europe gave the populace a sense of a European community. Points earned on this question: 5. The Christian Church gave the various people …
CSTU 101. Which president said "A nation must believe in three things: It must believe in the past. It must believe in the future. It must, above all, believe in the capacity of its own people to learn from the past that they can gain in judgment in creating their own future." Nice work!
Firstly of all, the rich spiritual connotation of Gothic culture was the basis for keeping its sustained vitality. Secondly, a more easily accessible channel was supplied to ordinary people by the popularity of mass media, especially the advances in computer technology. Thirdly, the business value behind the culture was cared by some big commercial companies, such as film studio, record company, clothing company with a great brand. It was invested. The consumption goods of this style were made for market sale. That pushed the development of Goth from subculture into popular culture. Fourthly, the buying ability of young people, with a strong ability to accept popular culture, was obviously enhanced, with the development of the world economy. The promotion of the Goth culture was speeded up.
Gothic film. The first influential gothic film was Haxan directed by a Swede Benjamin Christensen in 1921. After a year, Germany director Murnau shot a film Nosferatu which became the first landmark of the Gothic Film in the history of mankind.
However, Gothic art given birth by Gothic culture included the following parts: the Gothic literature, the Gothic film, the Gothic music, the Gothic painting, the Gothic architecture, the Gothic fashion.
However, to give a clear definition for Gothic culture was been difficult because different connotations and quality of uncertainty was had in the term of Gothic in different social-cultural group.
The sublime related to fear was considered the foundation of Gothic aesthetics. The well-known England Esthetician Edmund Burk divided calli- beau into the beautiful and the sublime. When he discussed the sublime, he had already talked about the strongest emotion of mankind is fear. And he linked the sublime with the fear.
Gothic architecture was a kind of architectural style, prosperous in the Middle-Ages. It was evolved from Romanesque architecture, and inherited by the Renaissance. It was originated in France in the twelfth century. It was continued until the sixteenth century. Acuminate arches, ribbed vaults and flying buttresses were included in the features. Most of all were seen in the Catholic Church, as well as the secular buildings. An important position was occupies by Gothic architecture with its high degree of technical and artistic achievements in history of the construction.
It was known that The Gothic music took human gloomy and empty as the theme. Moreover, death was focus on as an intense interest. Slowness, sadness, and even terror, were the characteristics of the music.
Notable examples of Gothic musical icons include Siouxsie Sioux, Robert Smith (leader of The Cure), Peter Murhpy (leader of Bashaus), Ian Curtis (leader of Joy Division), Nick Cave, Marilyn Manson and Nico. In literature, the influence of Mary Shelley's work is remarkable in this subculture.
The Gothic sub culture has tastes associated with music, aesthetics, and fashion. The music of gothic subculture involves a number of different styles, including gothic rock, industrial rock, post punk and neoclassical. Dress styles within this sub culture range from Victorian styles, punk and deathrock or even combinations of these branches.
Its members take pride in being distinct from the dominant culture and their dark dress style indicates an option to separate themselves from conventional norms and standards. Today this sub culture involves a mixture of music, literature, art and clothing. A gothic listens to gothic music, uses black clothes and unusual jewelry.
The gothic culture is a sub culture that adopts dark elements of fashion like black clothes, black hair, dark eyeliner, black nails and old clothes. It is also related to the musical genre of Gothic rock and with a range of artistic genres. The Gothic sub culture has tastes associated ...
The Gothic subculture, especially the earlier generations, were pretty much influenced by Romanticism, or a style of art and literature that emerged in the late 1700s until the early 1800s.
The gothic fashion is often dark, mysterious, complex and exotic, being able to be recognized for its totally black clothing. Typical gothic fashion includes black-dyed hair, black eyeliner, black-painted nails and antique-style black clothing; Goths can have piercings too. Silver jewelry is also popularly used.
A gothic listens to gothic music, uses black clothes and unusual jewelry. Both men as women often use particular makeup. The Goths want to represent with their look death and decay; the colors black and dark red are of great importance.
Ratios became essential to French Gothic cathedrals because they expressed the perfection of the universe created by God. This is where we also see stained glass emerge in Gothic architecture. Abbot Suger adopted the idea that light equates to God.
Lancet Arch: A sharp pointed arch used in doors and windows, etc. Gothic Architecture: A style of architecture that flourished during the high and late medieval period; it evolved from Romanesque architecture and was succeeded by Renaissance architecture.
The western entrance to the Cathedral is typically the primary point of entry and therefore the most elaborate facade. Stained glass adds a dimension of color to the light within the building, as well as providing a medium for figurative and narrative art.
French Gothic cathedrals were characterized by lighter construction and large windows. The pointed arch was the defining architectural feature of Gothic construction. Height is enhanced by both the architectural features and the decoration of the building.
While the use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual characteristic than Romanesque architecture.
regional power. In the 12 th century, the French royalty strengthened their power, their titles, and their landholdings, which led to more centralized government. Additionally, due to advancements in.
Cathedrals served as religious centers and they were important for local economies. Pilgrims would travel throughout Europe to see relics, which would bring an influx of travelers and money to cities with Cathedrals. Ambulatory at St. Denis: We can see the Gothic style emerge at St. Denis in Abbot Suger’s re-designs.
My discussion of The Narrative of Arthur Gordon Pym, which places race at the center of Poe's gothicism, shows how Poe dealt with the racial hauntings of his own culture. Contrary to Wright's statement, Poe need not be resurrected to be imagined in terms of race, for its horrors had already invented him.
She describes her garret in gothic terms: it is a "dungeon, " a torture chamber, a prison, a grave (127). Indeed, her "dismal hole" resembles the "deep, and dark, and foul" pit of slavery (113, 2). Jacobs's description symbolizes slavery's extreme entrapment: "The garret was only nine feet long and seven wide.
However, like Douglass, she also resists the gothic's romantic effects. In chapter 9, "Sketches of Neighboring Slaveholders," Jacobs recounts a series of horrifying punishments to reveal the "abominations of slavery": slaves are bludgeoned, flogged, and burned to death (52).
Known primarily for his science fiction novels and short stories, Bradbury often uses a sense of enchantment to weave traditional Gothic horrors into the fabric of ordinary life and to invest the most mundane situations with eerie potential. Supernatural occurrences in his stories are often matched by the experiences of characters whose emotional responses lead them into the realm of the uncanny. "The Lake" and "Reunion," for example, are both centered on the endurance of love after death. In the former, a dead playmate reawakens the affections of the man who once loved her by leaving a sand castle for him on the beach where she drowned decades before. In the latter, an orphaned boy achieves a similar rapport with his dead family by recreating them in his imagination from the smell and feel of their clothing and other personal articles they used in life. In his stories "The Jar" and "The Next in Line" Bradbury depicts deteriorating marriages escalating toward disaster, conveying an eerie menace as events culminate around symbols—a jar containing a freak-show attraction in the former story and a catacomb filled with mummies in the latter—that crystallize the sense of dread. "Homecoming," "Uncle Einar," "The Traveller," and "The April Witch" are all tales in which Bradbury features an extended family of vampires, werewolves and other supernatural beings who live unobtrusively among humans and who express emotional needs not unlike those of their mortal neighbors. The children in Bradbury's stories are often genuine naïfs who access the supernatural unself-consciously using their as-yet unspoiled imaginations. In "The Emissary" their wishes resurrect the dead and games of make-believe defeat death altogether in "Bang! You're Dead" and "The Ducker." The lost innocence of Bradbury's adult characters, however, renders them vulnerable to evil, death, and destruction. In "The Screaming Woman" the loss of youthful romance leads to death, and in Something Wicked This Way Comes (1962) jaded, sinful men and women are lured into bargains with Satan by the promise of everlasting youth.
Science-Fiction Studies 6 (1979): 289 (emphasis in original). Todorov defines the fantastic in relation to two other genres, the "uncanny" and the "marvellous.". In a realistic world—that is, a textual world modeled on the world we inhabit—an event occurs that appears to violate the laws of this world.
But the Urban Gothic was only part, if a crucial part, of a larger literary movement of the last two decades of the century: the romance revival. "Romance" is another of those protean literary terms whose meaning varies with the frame of reference, but in the context of the 1880s, the term has a fairly stable meaning. The "romance revival" began as a reaction against the "high realism" of the 1870s, which was, in its turn, a reaction against the "sensation novels" of the 1860s. The theorists of high realism rejected the sensation novel's emphasis on plot, arguing that it demanded less of readers than novels that required them to interpret the subtleties of human motives. In addition, it was believed, too strong an emphasis on plot would interfere with the "naturalness" of characters.
Although primarily a novelist who wrote in the eighteenth-century tradition of sentimental fiction, Reeve is remembered almost exclusively for her Gothic romance The Old English Baron (1778). Writing in response to Horace Walpole's The Castle of Otranto (1764), Reeve sought to compose a similar story avoiding what she considered Walpole's flawed narrative conception. Whereas Walpole conceived his novel as an entertainment with an abundant display of supernaturalism, Reeve's narrative is distinguished by her didactic theme and moderate use of supernatural elements. Immensely popular during the eighteenth century, The Old English Baron remains important for its role in the development of the Gothic genre. Reeve's cautious approach to writing Gothic fiction anticipated the later, more critically acclaimed novels of Ann Radcliffe, whose characters inhabit a world in which realistic detail joins successfully with improbable occurrences. Reeve combined literary gothicism with the didactic concerns characteristic of sentimental fiction.
"Nothing has the power to hurt which doesn't have the power to frighten" ( O 42): this single utterance by Shirley Jackson may be all the justification we need to consider some of her darkest and most vicious work, otherwise wholly non-supernatural, as anomalous contributions to the weird tale. Maurice Lévy remarked of Ambrose Bierce that "One is almost tempted to believe that one day he decided to instill fear into his contemporaries by hatred, to gain revenge on them", 5 and Jackson seems very frequently inspired by the same motivation. Indeed, from this perspective it is possible to consider a very wide array of works—from Juvenal (notably the fifteenth satire, on cannibalism in Egypt) to Swift 6 to Evelyn Waugh's A Handful of Dust (1934) 7 —as quasi-weird, because they are all driven by such daemonic misanthropy that they not only hurt but frighten. Perhaps it is this feature that will allow us to sneak in We Have Always Lived in the Castle through the back door of the weird.
Reviewers debated the morality of its characters, and Schiller, jailed for two weeks, was forbidden to publish further due to the revolutionary fervor the play allegedly inspired. A final contribution to the individual loneliness theme is Jackson's last published story, "The Possibility of Evil" (1965).
A poet of great promise who failed to live up to the expectations of his literary peers, Beddoes is remembered today as an important figure in the Elizabethan literary revival of the nineteenth century, as an author of Gothic verse, and for his dark and troubled life, which ended in suicide when he was forty-five. Critics have asserted that Beddoes deserves to be better known and have regarded him as the literary heir to William Shakespeare and the best of the Romantic poets, including his idol Percy Bysshe Shelley. After publishing a volume of poetry and his acclaimed verse drama The Brides' Tragedy (1822) by age nineteen, Beddoes did not publish anything of consequence for the rest of his life. At twenty-three he exiled himself from England, studying and living in Europe and working intermittently at his ambitious verse drama Death's Jest-Book (1850), which he revised until his death. During his life he was regarded first as a prodigy and then an eccentric. After Beddoes's death Victorian poets Robert Browning and Alfred, Lord Tennyson expressed admiration for his poetry. Scholarly interest in Beddoes began in the 1920s, and since then critics have examined in detail his interest in death, horror, and the Gothic; his treatment of themes such as marriage and the limits of art; his grim humor; his lyrical ear; and his fascination with words. He is admired for his genuine—albeit dark and disturbing—vision and presents themes and ideas that are otherwise absent in the more conventional works of late Romantic and early Victorian England.
She is perhaps best known for her novel The Death of the Heart (1938), and critics point to that phrase as an apt summation of Bowen's recurrent theme: the inevitable disillusionment inherent in human relationships, particularly as innocent characters make the painful passage to experience . Critics praise Bowen for her descriptive, finely pitched style, and they often compare her with Katherine Mansfield for her extreme sensitivity to perceptions of light, atmosphere, color, and sound. Like Mansfield, Bowen is considered expert at presenting the emotional dynamics of a situation and then swiftly illuminating their significance, particularly within the prescribed bounds of the short story. While Bowen is generally acclaimed as both a novelist and short fiction writer, some critics deem her stories superior to her novels. Bowen's experiences living and working as an air-raid warden in the besieged city during World War II inspired what many critics consider her finest short story collection, The Demon Lover (1945), which explores war's insidious effects on the human psyche. In the stories, composed between spring 1941 and late 1944, Bowen introduced to her short fiction a hallucinatory tone and supernatural themes in order to convey war's effect on the human mind. In "The Mysterious Kor," which is often cited among Bowen's greatest stories, wartime London becomes a mysterious, terrifying nether-city by the light of a transformative moon. In "The Demon Lover" Mrs. Drover becomes dislocated in time, slipping from World War II back to World War I, where she waits feverishly for the arrival of her long-dead fiancé. In this, as in other stories in The Demon Lover, Bowen employs a disturbing ambiguity, preventing the reader from knowing whether stories depict supernatural states, or illusions created by the characters' neurotic and overburdened psyches.
Bram Stoker's Dracula (1897), for example, represents a further development of the plot and structure of a typical gothic text such as Carmilla. Count Dracula's victims can never clearly distinguish their own dreams from the vampire's nocturnal visitations.
We can move directly from this assertion to Gothic fiction; and, in particular, to the work which has so often been taken as the originator of the genre: Horace Walpole's Castle of Otranto. Castle of Otranto is a book which abounds in part-objects; in separated fragments of the disunited body.
It shows that the 'curse' which follows the wicked deeds of the Gothic grandfather and which give rise to the ghostly legend, now resides in the body of his descendant which is 'haunted' by its legacy in a pathological form.